Abstract:

The historic Prespa agreement, signed on 17 June 2018 by Prime Ministers Tsipras and Zaev in the Greek border village of Psarades, marks the latest use of this borderland and its ruins as a performative stage. Prespa's ruins, both its celebrated Byzantine monuments and the contemporary ruins of villages deserted following the Greek Civil War (1946–1949), have been used as aesthetic and performative objects not only to serve nationalist narratives but also to negotiate processes of loss, mourning, or personal commemoration and reflection. A consideration of recent films about the Greek Civil War in terms of visual-spatial practices of cinematic cartography, informed by theoretical approaches to ruins, memory, and nostalgia, reveals that Prespa's ruins, both as filmic objects and as enduring materialities of lingering emotional effects, are constituted through an Otherness with subversive possibilities that can help to challenge established notions of ruins and ruination.

摘要：

历史悠久的Prespa协议由Tsipras和Zaev总理于2018年6月17日在希腊边境村庄Psarades签署，标志着该边境地区及其遗迹作为表演舞台的最新用途。普雷斯帕（Prespa）的遗迹，既是著名的拜占庭纪念碑，又是希腊内战（1946-1949）后荒芜的村庄的当代遗迹，不仅被用作美学和表演性对象，以服务于民族主义叙事，还用于协商损失，哀悼，或个人纪念和反思。从电影制图的视觉空间实践出发，结合关于废墟，记忆和怀旧的理论方法，对最近有关希腊内战的电影进行研究，发现普雷斯帕的废墟既是电影对象，又是持久的情感情感物质，